Virtual Pose Series Features Figure Models In Artistic Poses

First introduced in 1998, this unique series is dedicated to presenting the human figure in a way that allows a deeper understanding of shape, form, and gesture. For professional and student artists alike, the Virtual Pose series is the next best thing to working with a live model and the ultimate reference for amateur artists who have no access to studio sessions. Over the course of the following decade, six volumes would be published, including Virtual Pose Children & Teens which featured clothed children and teen models. Following that, Virtual Pose went totally green by offering all new and remastered content via online download only. Towards that aim, Virtual Pose is designed to promote a journey of discovery by enabling the artist to smoothly rotate the model a full 360 degrees at will. This approach brings drawers, painters, and sculptors the next best thing to a live model while empowering the mind to build a better picture of the subject in a way that is intuitive, simple, and elegant. Continue reading...

Although a live model is always the preferred situation for drawing the figure, there are limitations to what you can have a model do. Live models are humans who live in a real world. They get tired. Even a relaxed pose can't be held indefinitely. The following are just a few limitations you will find when posing a live model Gravity affects everything in life, including a model, causing fatigue. Some poses are easier to hold than others for long periods of time. Out of respect and compassion...

Exercise 54 The Predominating Shape This is another one-minute or five-minute gesture study making use of straight and curved lines. Instead of starting with one line that runs through the entire figure, as in Exercise 46, start with what seems to you to be the predominating two-dimensional shape. This shape may be suggested by the whole figure (for example, a squatting figure may have the general shape of a triangle) or by a part of the figure that is important in the pose (when the model ties...

Everything we hove learned so far has prepared us for the next step drawing the model clothed. The first thing to remember when drawing the clothed figure is that you are drawing a clothed figure. You must understand a figure's actions and anatomy before you can tackle the issue of clothes. Fabric now takes on the f orces and form of the person wearing it, thus making it clothing. Clothes hang on us, usually f rom the shoulders and the waist. Paying attention to the moments f rom which clothes...

In this drawing exercise, I drew the action line and skeleton much darker than I would normally draw them so that you could see them. Typically I draw the action line, skeleton, and manikin very lightly so I can do a finished drawing over the top of them. You will notice that in Figure 2.26 the action line and skeleton are much lighter. I went in with a kneaded eraser and pulled much of the graphite off the page so that you could better see the manikin drawing. I usually don't erase when I draw...

Think of your paper surface as open space and not as a two dimensional surface as though you were looking through an open window. THE ARTIST'S OBSERVATIONS,being recorded must convey character philosophy en vironment.compounded with many other qualities all expressing from one source. INDIVIDUALITY.is applying correct shapes to represent the section or grouping and it must be present in the fabrication. Check your visual measurements divided by the natural divisions and try to commit their...

Humans perceive reality in terms of relationships between shapes of tone. The junction where one shape of tone meets another is evident as the edge of an object meeting another edge. Early humans perceived this and in their desire to give representation to this phenomenon of the edge of one object meeting another edge, visually, they drew a line. With a leap of creativity, early humans invented a language for a visual shorthand, which to this day is still practiced by artists in a multitude of...

In the drawing here the image I wanted was of a man wearing a raincoat. I imagined his collar turned up against the weather and his coat fluttering in the wind. This was such a clear, simple image that I drew the coat collar and the edge of the coat first. Once I had this image down I could see that the illustration would be most effective if I left out the man's feet. In this way the fluttering movement of the coat would become the main part of the drawing. All that remained for me to do to...

Here the legs are almost finished - I take care that they're not intersecting each other - else I would have to correct the arms and hands afterwards. I'll let him touch Vickys belly - as a reaction she looks at him o . Now only his right arm and hand has to be posed. I'll let him touch Vickys belly - as a reaction she looks at him o . Now only his right arm and hand has to be posed. To pose the hand I move the right arm in an approximate postion to lessen the work while posing his hands later....

Again the author gives his own interpretations this time of ideal types preferred by artists of different periods. The first is an Egyptian head of about 1350 B.C. Here is a dangerous and controversial subject, especially Jeminine Beauty. Nevertheless, it should be considered. It is not enough to go on drawing the model blindly and aimlessly, though it is true that the constant practice of figure drawing is necessary to an artist. The mere copying of a model is, however, not the end of your...

This section deals with children of the gram-mar-school age, or up to adolescence. That is the age of activity and rather gradual growth, before the spurt of growth that comes at the time of adolescence. It is also the age in which habit and character begin to be formed and to show in the face. We might also call it the age of mischief, because the energy cannot be confined to growth and overflows into physical activity. It is most important to learn to draw children of this age with a smile...

Let's address some visual rules of space. The first visual rule is overlap. See how it is that shape 1. is closest to us and 11 is furthest away. This is all done with overlap. Overlap occurs when one line stops as it touches another. This makes it appear as though it has gone behind it. The circles in the bottom left corner also give us this depth effect. I have heard some instructors call this the T rule because of the intersection creating a T. At Disney they made a huge fuss about tangents,...

This is a continuation of the drawing starting from page 250. The chair that the model is sitting on has been defined here. Some additional shading was added to the side plane of the thigh and to the center area of the lower back. The artist did not make this area too dark in tone, as there is still light on this area however, the light is not as strong as the light on the upper back. Now you can see the development of the foot. The ankle-bone is defined by shading around the protruding bone...

In this chapter we shall look at a number of drawing exercises devised to help you towards your goal of good imaginative figure drawing from memory. They are aimed at consolidating the information so far presented and building on the familiarity you have gained with the human figure through your frequent use of your sketchbook. Each exercise contributes in a significant way to the development of the drawing skills you will need, and in the process will help you avoid the commoner pitfalls and...

We've already covered the basics of constructing a head in chapters 1 and 3. Here we'll take it a step further. So far, eyes have been treated as flat things stuck on a sphere. While this works for some styles, it helps a lot to realize eyes are spheres themselves. The eye sockets are set deeper into the head. Figure 4.1. Sinking and raising features Figure 4.1. Sinking and raising features There are many features that are set deeper, or are raised higher for example the the brow ridge or the...

Amazon Sonia's masculine traits are unusual among female fantasy figures, and provide a challenge to the artist who must show both her masculine and feminine side. A Three-quarters from the front The relaxed facial expression and proud position of the head give the impression of a self-assured, perhaps slightly smug temperament. Stance Sonia's masculine stance can also be provocative. None of Sonia's muscle groups stand out as larger than others, but because she is well-toned enough for most of...

There is no greater pleasure or challenge in the world of art than to draw the human figure. In this chapter, you will be introduced to various approaches to drawing this very special subject. Set Up the Model Light the Light Reveals the Copy Works of Art in Find Your Guidelines . ' 236 Examples of Foreshortening 240 Find the Gesture of the Pose Quick Sketches 244 Add a Color to Your Paper 248 Gallery . Human Figure Drawingthe human figure is an excellent way to improve and expand on your...

Forceful shapes can get more specific. I want to discuss some powerful theories about the anatomy of the body that pertain to force and rhythm as seen by forceful shape. The body, as I said earlier, is built to move. Its musculature is set up in traverse angles from one area in the figure to another. These relationships allow it to perform. If you work out or you are a physical therapist, you know exactly what I am talking about. The biceps are opposite in f unction to the triceps. The biceps...

Before the 1900s artists would realise the world from one point or view. The viewer would be presented with that view and would understand the scene from that perspective. This was a traditional way of presenting our understanding of the world two dimensionally that had been used for centuries in a western cultural ideal. However, our attitudes began to change at the beginning of the 20th century, and other ways of seeing began to be explored. Our attitude to the one point view began to change....

Sketches done between 10.20 and 11.00 one night when I was waiting for a late train at Victoria Station, London. Saloon-bar sketches. If you use your sketchbook habitually it can provide you with an excellent source for picture composition and character reference. More leaves from my sketchbook -street scenes in London and observation. Don't aim for neat, tidy drawings arranged artistically on the page. That's not what your sketchbook is for. Aim to capture the character and posture of your...

Paint the entire canvas with a thin even coat of Gray gesso. When the Gray gesso is dry, paint the background with the Pink, Blue and Black. Loosely sketch the basket with the filbert brush and thinned Black and White. 2. Use the filbert brush and Gray mixtures made from Titanium White and Black to weave the basket. 2. Use the filbert brush and Gray mixtures made from Titanium White and Black to weave the basket. 3. Underpaint the lilacs with the 1 2 brush and loose criss-cross strokes using...

Let's stort with drawings of people thinking to themselves and trying to capture those thoughts. Here there is no outside stimulus. Here is o typical moment captured by Mike. The upward lift of this woman's head makes it seem os though she is in casual thought. This woman is deep in thought her burning cigarette shows us the progression of time. Above ore dif ferent people in dif ferent situations, all going about their lives. Here is on observation about the train. Since I have been commuting...

If the interest of the student has been excited- and his attention bestowed upon what has been already said, and so earnestly urged upon him, and he has mastered the examples of the head, hand, and foot, already given, he will experience but little difficulty in drawing any form or figure that he may attempt. When it is said that he possesses the capacity to draw a figure, it should not be understood, thereby, that he is capable of that careful elaboration, or minute...

And setup the figure in action is not as dl ffi cult as it looks and setup the figure in action is not as dl ffi cult as it looks DRAW SOME OF THESE, BUT DRAW MANY OF YOUR OWN keep your drawing's fr.e b, and sketchy. draw many figures at various eye leve-ls. keep your drawing's fr.e b, and sketchy. draw many figures at various eye leve-ls. a s mpl way of Getting female proport ons-take to knees- to waist, to topof head. 3 fiy X TOP OP HI6A0 THE MAIN DIFFERENCE BETWEEN rHE MALE AND FEMALE...

Brush and ink is an excellent mediurn for drawing animols. Since the fur textures of animals vary, your brush technique will vary olso. To show the high sheen of a race horse, for example, I keep my brush stroke thin, close together, ond even, leaving open areas to suggest high lights. Shagginess, which is a characteristic of some camcis, dogs, etc., may be conveyed by a dry-brush style. This is obtained by thinning out your brush on scratch paper after you have dipped it in ink. The desire...

This Greek sculpture of a male torso from 450-400 BC has a freshness, vitality, and degree of realism that completely transcends the passage of time. An important aspect of its vitality is the subtle lateral swaying motion of the sculpture. The sketch was executed with an HB pencil and a kneaded eraser. The line around the figure was intentionally varied to help capture the rhythm of the figure. Copy after a Greek statue, by Dean Fisher Copy after a Greek statue, by Dean Fisher This drawing of...

What is of consequence to know is, first, that it is a powerful flexor of the thigh secondly that, stretching from the pelvis to the fibula head, it performs the important office with other muscles of solidly joining up the three bony elements of pelvis, thigh, and lower leg. This is a principal fact in the mechanics of the human frame, though even whether the biceps be attached to the head of the fibula or, like the semi-tendinosus, its neighbour, it be attached to the tibia head really does...

Control systems are devised to suit each individual application. Generally, each part of the system will contain air of different types. With reference to Fig. 27.6 the room air RA is extracted by a fan, a proportion of the air is exhausted to atmosphere and the remainder Note. This diagram forms an introduction to the basic system concept highlighting the major functional areas of the overall system. It is intended for users who require a basic appreciation of the system. Note. This diagram...

The thousands of photos found in newspapers and magazines are all for your use to assist you in your study of drapery. The plan which I followed is STEP ONE Tear a photograph of a clothed figure out of a magazine or newspaper. STEP TWO Make a simple but accurate drawing of the figure with a colored pencil. It is advisable to keep this drawing in simple solids, making sure that the cylindrical forms are shown in their correct relation in space that is, to show that they are coming forward or...

Now let's take this example even further and push the dynamics a little. Take a look at Figure 8.5 and notice how making the action extreme increases the feeling of drama and power. If you remember from Chapter 5, a pose that has a strong action line is more dynamic than one that doesn't. Figure 8.6 shows the action lines superimposed over the figure pose. Even the lines seem dynamic. All good dynamic poses start with a good dynamic action line. The action line is the unifying element that ties...

When drawing colorful subjects, it is important to add the colors in layers, beginning with the lightest. Figure out the undertone, or lightest color of the drawing, before you begin. Using a circular motion with the flat of the pencil lead will give you the illusion of speckling like that found in pottery glazes. Look for the five elements of shading, particularly reflected light, when drawing rounded and spherical objects. Foreshortening is when the shape of an object appears distorted...

A rhythm is the beautiful interplay of different energies in the body that helps it stay in balance, or creates equilibrium. Rhythm exists in all living things. Your understanding of rhythm will help you create living drawings. Gravity is the reason we have rhythmic balance in our bodies. Our anatomy is not linear but asymmetrical in its musculature. This allows us motion against the force of gravity and equalization when standing still. Understanding this will help you draw a living, grounded,...

The figure measures seven 7 to eight 8 heads high. The neck is about one-third the width of the shoulders. The waist measures less than the shoulders. The legs join the body at the center of the figure. The knees are less than half J way between this point and the feet. From the shoulder to under the arm is one-half head or less. The waist is about one and three-quarter If heads down from the chin. The arms bend opposite the waist, reaching down to the center of the figure, while the hands...

Here you see how the scale works out in practice. The circle represents the ball, and the width is the width of the head, including the ears. We find that the face is about two units wide and that the eyes fall between the middle halves or at the quarter points of the two units see upper right . This coincides with the divisions of the ball and plane with which you are already familiar.

Opposite, top Facial expressions are achieved by movements of the soft facial tissue. Opposite, top Facial expressions are achieved by movements of the soft facial tissue. The musculature of the face is basically quite simple, although there are several layers of muscles which allow very subtle movements of the facial tissue, and thereby facilitate facial expression. These muscles are attached at one end to bone and at the other to the skin and its concomitant subcutaneous flesh. Pursing and...

The study of gesture is not simply a matter of looking at the movement that the model makes. You must also seek to understand the impulse that exists inside the model and causes the pose which you see. The drawing starts with the impulse, not the position. The thing that makes you draw is the thing that makes the model take the position. To make clear what I mean, I will describe a model posing. He is standing with his right foot on the ground, his left foot resting...

In a human figure there are the masses of head, chest and pelvis. Each of these has a certain height, breadth and thickness. Considered as blocks, these masses balance, tilt and twist, held together in their different movements by the spinal column. As they twist and turn, the spaces between them become long, short or spiral. We might liken these movements and the spaces between the masses or blocks, to an accordion when it is being played. Here we have an angular, virile, active side, the...

With a pink rubber eraser, ihe artist removes most of the guidelines that appeared in Steps 1,2. and 3. Now he can see the lines of the profile and features more clearly and begin to block in the tone. Turning the thick pencil on its side, the artist begins to render the tones surrounding the eyes and nose, the cast shadow beneath the nose, the dark tone of the upper lip. and the pool of shadow beneath the lower lip. Broad, free strokes fill the underside of the jaw with shadow,...

So here it is, four-point perspective in all its glory. It reminds me of looking out o window in New York City. If you were at the height of obout the thirteenth f loor and the buildings around you were thirty f loors, this is what you would see. We have squeezed depth on both the vertical and horizontal planes with each having two points of convergence. This is the world of perspective we live in. The closer something gets to your eye, the more of a fisheye lens effect you will see. The center...

This area of the body helps to underline the sexuality of the character, so females need a flaring pelvic girdle and rounded hips leading to long, lithe legs, whereas males require bulging legs rippling with corded muscle. The ribs curve slightly down from either side of the spine, and the muscles essentially follow this downward swoop, especially in the lower back, The outside of the foot curves smoothly toward the little toe, This contrasts with the instep, which is between the slim heel and...

Mea8urc by holding pcnol always at arm s lfc.ngrm iemcmbejl this plan gives the actual live proportions. make any adjustments you wish a3 you co alonq. usually add a little in length. cot two ftloht angles from some stiff cardboard, mafcic off in inches an0 cup together. .tws cam adjusmcmtgives proportionate width tohelcht. iemcmbejl this plan gives the actual live proportions. make any adjustments you wish a3 you co alonq. usually add a little in length.

ALL DRAWING STEMS FROM ONE OR MORE OF THESE FORMS r- Art is really having its chance. The urge to raw seems to have taken hold of many more thousands today than ever before- 11 has spread across the nation. While many are interested in art as a pastime or hobby, others would gladly choose it as a means of livelihood if they were convinced that their ability was sufficient to provide any real hope of success. There will always be a certain amount of confusion about what is talent or native...

It's not nec-I essary to render it fully at this I point. Bring the neck down to the shoulders. As a guide, it is useful to sketch a line across the shoulders where the right and left clavicle would be. This gives you a sense of direction for the rib cage draw that next. 2 Place a small circle at the end of each shoulder. These will approximate the shape of the deltoid muscles. Next, lightly draw the spine as a straight line running down from the ribs. At the end, sketch in...

For the round-lens type, you should draw an entire eyeball. Camera lenses and headlights can be used for mechanical eyes Use of multiple levels of tone and addition of light will create the impression of a three-dimensional lens. Camera lenses and headlights can be used for mechanical eyes Use of multiple levels of tone and addition of light will create the impression of a three-dimensional lens. i drawing a robotic mouth One is to fey the ines that connect the nose and mouth. .bonship to the...

As always, weight distribution affects the compensatory movements the body makes during running. The soldier at bottom right swings the heavy gun he is carrying to left and right to keep his lateral balance over whichever foot is in, or about to be in, contact with the ground this ensures that he doesn't fall over sideways. His centre of gravity is not, however, vertically above the supporting foot at any moment, as it would be if he were standing still and lifting alternate legs his whole body...

The inspiration for this charming Sunflower Fairy came from the artists young niece, who was photographed sitting in a tree. Children make wonderful subjects as they are so relaxed and supple in their positions, and sketching them from a series of photographs is the easy way to go about it. Don't ask them to pose candid shots look Once you are satisfied with the positioning anJ perspective, ink in lite face, doth es, and hands ici tJTfi rnter hut still soft lines. Carefully position the fairy...

Self-conscious girl has the feeling that she never knows what to do with her hands. The unimaginative artist, too, does not know what to do with the hands of his figures. But the girl can put her hands onher hips, finger her beads, fix her hair, pull out her vanity case, apply lipstick, smoke a cigarette. Hands can be most expressive. If you show legs, let them be interesting even in the standing pose. Drop one knee. Raise a heel. Do anything except keep them glued to the floor side by side....

By the aid of shadows is developed the true form of the model and to parts more or less advanced or depressed, are thereby given a location, as decided and certain as if seen in profile. So truly can they be expressed, on a flat surface, that a sculptor can model a bust, from a picture, and the eye may be so completely deceived, by their close representation, as scarcely to distinguish the reality from its counterfeit. It is, therefore, as essentially...

You are free to choose the size, shape and balance of the parts. Drawing squarish parts will make it look more like a robot, i.e., man-made. Draw joints in a way that makes it look like there are mechanical parts inside. Small, evenly spaced circles resemble rivets. Draw Robot-like Figures Using Only Basic Parts. Draw big, bold joints. Give the surface a strong metallic contrast. Example of finished block. Apply tone and plane. A square part becomes a metallic looking cube wher the corners are...

The character in a head is the result of the individual bones and muscles, as they are shown by careful construction and spacing. But the beauty of a drawing will always be in the way you use line and tone and the interpretation of light and shadow on the forms. You may experiment in your own way and develop your own approach and technique. Sometimes an unfinished study is more attractive than the completely executed drawing. Smiles that radiate happiness are difficult for any artist. They arc...

Had the experience of being told by someone that a head he has painted or drawn looks like that person or like an acquaintance or relative of the speaker. For the artist's purpose, the simplest plan is first to think of tin- skull as In-iiig pliable and having taken a certain shape as a result_of pressures as it one squeezed .t rubber ball into various shapes without changing its actual volume. Although skulls have a great variety of shapes, actual measurements tally very closely, which means...

Our first Pinocchio had wooden hands, a stocking cap, and a cocky personality, Walt found this to be too brash and lacking in appeal, so we stopped animating until a new design could be found, matching a new story concept of the character. Fred Moore's drawings at upper right suggested more innocence and the proportions of a boy rather than a puppet. Milt Kahl's drawings of the chubby, naive little boy in the Tyrolean hat became the final model when we resumed animating six months later....

Not all mangacharacters are drawn with realisticproportions. Another popular style within the manga tradition is the chibi chee-bee . The word itself means small or cute, and that's how these characters look. A chibi is short with a small body and large head. Simplified details and abnormally large eyes enhance their cuteness. Note that the female neck is slender, while the male's is wider almost as wide as the head. The female is, overall, more delicate-looking, and the male musculature...

Basic tones are applied to define the curves. - lassic suit of armor can be rendered into a nodern-day mecha by simplifying and deforming ne parts without significantly altering the overall Underarm and seam of sleeveless undergarmer Different version of shoulder pad and sleeveless undergarment Use the helmet lines to form the head. Emphasize sturdiness by extending and thickening the shoulders. Create three-dimensional effects thickness and hardness by adding lines such as these. make up for...

Crotch There is always a space between the thighs at the crotch even when standing with knees together. Hips From the front, the widest part of the hips are determined by the bones. preferences among breasts are as varied as their owners. See page 22. Ribs A lightly-drawn rib line gives the stomach and torso a trim look but be careful if the line is too heavy, it creates a gaunt look . The female figure is defined most prominently by the bust, the waist, and the hips. ' Crotch There is always a...

In this chapter we are concerned with qualities other than motion. Almost the whole gamut of feeling can be expressed in a seated figure. It can suggest alertness or composure, fatigue, dejection, aggressiveness, timidity, aloofness, uneasiness, boredom. Each would be expressed differently. Sit down or have someone do so, and see how you would dramatize each of these. It is of paramount importance, at this point, to understand the shifting of the weight from the feet to the buttocks, thighs,...

In a back view of a nude, the line created by the backbone can be used as an axis of symmetry, allowing us to balance the pose. In a back view of a nude, the line created by the backbone can be used as an axis of symmetry, allowing us to balance the pose. A symmetrical composition presents greater stability and balance. In artistic drawing, symmetry should not be perfect. The most common solution is to displace the direction of the head or one of the arms to avoid an eff ect of total symmetry....

The hands are a notorious source of frustration. This section won't concentrate on the musclestructure, since the hand is very complex in this regard, and knowing this won't help much in drawing them. Instead, we'll look at proportions, range of motion, and possible simplifications. Figure 2.20. Bone structure and proportions of the hand Figure 2.20. Bone structure and proportions of the hand There is a very easy and surprisingly accurate way to remember the proportions of an adult's hand....

To sit to him as a hired model, but takes her as he finds her, in her own freedom, and brings her home with him, as it were, to his studio, to come forth reproduced and perpetuated by his art. 18. The purposes of a study in design, involving so much more than the mere production of a recognisable drawing or representation as the advantages to be derived therefrom are in proportion to the knowledge, theoretical as well as practical, to be gained thereby neither time nor pains thus bestowed can...

The drawing of sculptures and plaster casts is a tried-and-true exercise that has been practiced by artists for centuries. It is the perfect bridge between drawing a still life and a portrait or human figure. The Tradition of Plaster Cast Drawing 168 A Day at the Plaster Cast Drawing in Charcoal 174 Gallery Plaster Cast At the heart of the Renaissance, there was a revival of and fascination with the proportion, form, and beauty of ancient Greco-Roman sculpture. Artists of the time steeped...

When creating a character reference sheet, you draw the figure upright, and perhaps do a full turnaround. But usually you want your poses to be dynamic, or at the very least interesting. This is where gesture drawing comes in. A gesture drawing is made very fast, you shouldn't spend more than two minutes on it. Fast, but not frantic. Figure 2.47. Examples of gesture sketches Figure 2.47. Examples of gesture sketches Drawing is usually done from the arm, using the elbow and the shoulder. The...

You can show the softness of the flesh in how it yields to the pressure of various items of clothing. In the case of underwear or bathing suits, it may be either the elastic along the edges or the fabric itself that presses into the skin. Some kinds of fabric provide a glove-like fit that makes virtually no impression on the skii Some kinds of fabric provide a glove-like fit that makes virtually no impression on the skii You can show the softness of the flesh in how it yields to the pressure of...

In the center use tone etching plus white. 2. Draw with pen. Do not use a ruler. 102 npsinninn Hrininal RnhntQ Think about the boc y Parts as y u draw-You can create an ucaiyiiiny unymdi nuuuia 0 igina robot jf you desj egch individua part and combine Flying Robots Swap flying devices with the head to emphasize the primary function of the robot. Use basic parts for the chest and arms. Use basic parts for the chest and arms. When designing robots that can fly, first consider the basic shape...

The best way to study anatomy is to set up a book of anatomical diagrams before you, and set up an art-Store manikin alongside it. Draw tlie action from the manikin and the muscles from the book. You can also make rough sketches of the manikin itself for general bulk and action only, Just copying anatomical diagrams does not seem very helpful to most students. The muscles must somehow be built upon a frame or figure in order to get their proportion and relationship to the figure as a whole. The...

The impression created varies greatly by how the breasts are positioned. Breasts that are predominant among Westerners The impression created varies greatly by how the breasts are positioned. Breasts that are predominant among Westerners Breasts that are predominant among Asians Breasts that are predominant among Asians Scraping away some of the screentones enhances the appearance of skin. Apply shading with screentones to create a feeling of solidity When the figure is dressed, you can create...

The area below the nose is always marked with three strong divisions, like folds in a curtain. The folds are draped over the curving, forward-tilted form of the upper aw beneath. The curtain ends where it joins the cheeks, a border often marked by a crease. The three folds line up exactly with the three parts of the base of the nose and the three sections of the upper lip this is due to the common origin of all these forms in three tiny subdivisions in the embryo. A. Almost invisible on a...

ALL MEASUREMENTS must first be understood to build form in some degree of order and proportion is not easy for all artists to do,but with the use of manikins this task of learning is made much easier. no matter how you progress in developing a style of your own the basic shape should and must be evident at all times to speed your delivery. ON THE HUMAN FORM,there are no placed markings that can be visually read to improve your placement. IDENTIFYING SHAPE,on surface form must be...

Finger length represents one of the most prominent differences between the figures of adult and child. Also, for adolescent girls you can create a youthful appearance by drawing the body of an adult, but with more rounded lines overall. Limbs. Even when long, not fully extended Wrists amp ankles relatively thick Limbs. Even when long, not fully extended Wrists amp ankles relatively thick Draw the head small make wrists and ankles slim. Draw the pelvis relatively thin keep arms and legs...

The rocking motion of the pelvis in the female figure tends to be a little more pronounced than in the male owing to the greater width at the hips and consequent slightly wider set of the legs. When a baby first begins to walk, almost all its concentration is focused on maintaining balance, because the head and torso account for so much of the total body-weight. So the arms are held out and up, and the child 'toddles' precariously along. But later, as the legs lengthen and strengthen, balance...

The proportions of your little figures may be varied in any sort of way. Below we show a variety of comic exaggerations. We shall start at once to put them into action. There will always be movement of the parts. Draw this page carefully and become thoroughly familiar with the movement of each part. Take any jointed doll if possible, one jointed at the waist. This fellow was a plain wooden art-store man-nikin. In order to make him exist for you as something more than wooden chunks, I dolled him...

Like with legs, there are several ways to throw a bit more human or a bit more animal in the mix. On one end of the spectrum, there are the normal human hands, but with a bit of fur and longer nails A fifty-fifty mix of human and animal traits is quite common. Usually this is done by making the fingers shorter and shaped more like a paw, and by adding paw pads. Here the pads are placed according to the anatomy of the animal as seen in the previous chapter , but you'll see many varieties. Some...

Interesting Characteristics of the Thighs Interesting Characteristics of the Thighs Even for legs that look skinny from the front, the thighs will look fat when viewed in different poses or from different angles. Slender but pretty legs, with smooth curves. Legs that are quite shapely in spite of thick-set thighs. Drawing the calf with heavy lines creates a muscular look. Slender but pretty legs, with smooth curves. Legs that are quite shapely in spite of thick-set thighs. Drawing the calf with...

This is a quick and simple way of rendering,pen outline with the side of the pencil lead fo . shading, this was drawn on bain br i doe coqutlle 2 this is a quick and simple way of rendering,pen outline with the side of the pencil lead fo . shading, this was drawn on bain br i doe coqutlle 2

When two solids Interpenetrate, a line of intersection is formed. H is sometimes necessary to know the exact shape of this line, usually so that an accurate development of either or both of the solids can be drawn. This chapter shows the lines of intersection formed when some of the simpler geometric solids interpenetrate Two dissimilar equare prleme meeting at right The E E. shows where corners 1 and 3 meet the larger prism and these are projected across to the F.E. The plan shows where comers...

Light and shadow are sharply defined and positive. Oil sphere B, the modeling is very gradual with no sharp definition. The lighting on A is characteristic of sunlight or direct artificial lights that on B of light from the sky without direct sunlight on the object, or of the popular indirect or diffused lighting. The difference in these effects must be taken into consideration by the artist. The whole pic-tine should have the effect of one or the other. If one thing casts a shadow, all things...

The important thing isn't drawing an arm or the position of the legs, but rather taking up the form of these body parts by relating them abstractly to the space that surrounds them, looking for the negative forms, or countermold, of the figure. Therefore, in order to understand the forms of the model we must know how to identify the figure's countermold. We suggest a very simple exercise that consists of representing the human figure in the chosen pose by drawing the different chiaroscuro...

Walt wanted to find his characters before going ahead with other story sequences or even the experimental animation, so the production unit began searching for voices as one of its first assignments. By this time, we all knew the type of character we wanted in our story, but to find the precise voice that made him just right was always a very demanding process. For Geppetto we had wanted a gruff, crotchety old man, who had a heart of gold but was accustomed to having his own way since he lived...

DRAWN WITH A SMALL CAMEL'S HA.tR BR.U3H AND DRAWING INK ON RlSTOL 130ARP DRAWN WITH A SMALL CAMEL'S HA.tR BR.U3H AND DRAWING INK ON RlSTOL 130ARP A number of typical problems in a contest for sculptural designs 1. The problem is to design a group of figures for a large fountain to be placed in the center of a circular pool fifty feet in diameter. The subject is, I am America. I give thee liberty and a free life. The drawings are to be submitted for interpretation of idea only. The group may...

In this section, you will learn the h3sic anatomy. It looks easy, but it takes many years to get it light. This topic Is very large and takes years to learn, therefore this books will give the summary only, it should be used for reference only. When drawing your subjects, the first thing you must know is whether you are planning to draw a male, female or a child. You can use the length of the character's head 3s a ratio of 1. From the top of the head to the chin. The upper body of the male...

26 Aid No. 2 Eye LevelHorizon Line All Horizontal Lines Converge To A Single Horizontal Take a suitable photo or drawing and extend all converging lines that are in reality horizontal i.e., parallel to the ground . Then connect the resulting vanishing points and notice how they all line up on a single horizontal line. This is the vanishing line for all converging horizontals. Because our man-made environment consists primarily of shapes whose edges and markings approximate vertical and...

A cylinder covers each arm another covers the body and legs. The cylinders shown cover, but do not fit the figure. Compare this diagram with your own clothes. Your sleeves are cylindrical also the body of your jacket, coat, or shirt. Trousers and skirts carry out this cylindrical scheme. This figure is clothed in cylinders. A cylinder covers each arm another covers the body and legs. The cylinders shown cover, but do not fit the figure. Clothes are simply...

The standing figure generally presents fewer problems, because each part of the body can be clearly visualized. In cases where there is a problem with the body's proportions, we can always turn to the classical law of proportion. Representations of the human body are rarely symmetrical. Artists always try to draw the model when it is out of balance, making a motion with its arms, or in a determinate position. The frontal, symmetrical view is used only in handbooks for studying the body's...

Taking action by adding effect lines for light also works. Classifying your note books into volumes like nature settings, buildings and various effects is When you find skillfully managed backgrounds in manga magaanes and the like.it is a good idea to collect them in a saapbook for your own reference when you draw. Taking action by adding effect lines for light also works. First, give some shape to the main buildings. Draw the surroundings paying attention to the perspective lines using the...

This chapter introduces the student to some more drawing techniques It should be emphasized that the topics are only introduced all of them can be studied in much greater depth and any solutions offered in this chepter will apply to simple probleme only. AREAS OF IRREGULAR SHAPES It is possible to find, by drawing, the area of an irregular shape. The technique does not give an exact answer but. carefully used can provide a reasonable answer. Look at Fig. 17 1. The shape is trapezoidal with...

If you understand how the differences in bone structure and body type affect their proportions, you'll be able to draw a wide variety of female figures. The shoulders, arms, and legs are all somewhat fleshy even when the legs and arms are long, they have a fullness to them The sides of the chest and hips form a shapely curve. The shoulders, arms, and legs are all somewhat fleshy even when the legs and arms are long, they have a fullness to them The sides of the chest and hips form a shapely...

THE drawing opposite by Jean-Baptiste Greuze is a good example of fore-shortening and on page 43 I have posed a model somewhat similarly, but in about as difficult a pose as you could imagine. Almost every part of her is foreshortened or distorted in some way. This is done to show you one of those occasions when your brain and your eye have a head-on clash. Your mind, with its knowledge of what happens when the model stands up and the foreshortening disappears, confuses your eye, which is only...

Shade with the idea that light and shade are to aid the outline you have drawn in giving the impression of solidity, breadth and depth. Keep before you the conception of a solid body of four sides composed of a few great masses, and avoid all elaborate and unnecessary tones which take away from the thought that the masses or planes on the sides must appear to be on the sides while those on the front must appear to be on the front of the body. No two tones of equal size or intensity should...

During sketch development I find that I understand what I would like to 'sculpture' in my design from the section lines I draw as a base, as well as from 'leaving out' areas. However, if you want this to come across to the people making the decisions, you need something that stands out and jumps off the wall in a presentation. Traditionally I would create presentation sketches by using the base sketch as an underlay, over which I would then draw the clean lines, and would put some marker and...

We propose the following method as the most effective means for solving some particularly difficult problems, such as foreshortened figures. The only realistic solution to the problem of foreshortening is to draw the figure just as it is, not as one imagines it to be to see it as a geometric figure, observing the negative space surrounding it. Only dexterity and experience can help one to really see and correctly render a foreshortened limb. The application of a countermold is especially useful...

Here is the hunting animal on the job with tail cocked, nose alert for scents, muscles tensed for constant action. The artist began by completely drawing in the dog's outline and indicating its more important muscle, tendon, and bone structures in the torso and legs. At this stage, he was most concerned with getting the animal's shape, proportions, and attitude as correct as possible. 2. Here, the artist was concerned with values. Since this is a short-haired dog, the values will be closely...

THIS is not a problem you should worry about too much, the most difficult problem is how to draw not what to draw with. Here to help you, however, should you be in doubt, are some of the methods you can use. I do stress that you should not worry too much, especially in the beginning, about your technique. Choose something simple and stick to it. If you are having trouble, it is probably because it's very difficult to draw the figure anyway and not the fault of your instruments if things go...

Practice, tbcugh essential to perfection, can never attain that to which it aims, unless it. works under the direction of principle. Sir Joshua Reynolds ITH some the method of learning to draw, thus far developed, may have proved long and even tedious 5 while to others it may have been too rapid, and their advancement, in its practical application, may not have equalled their expectations or wishes. The former should not be disheartened because their hand and conception have not kept pace with...

The back of the foot shown depending on the kicking style. ' style variations can be expressed with Tr i'i, tne backside of the foot is drawn. the back of the foot shown depending on the kicking style. ' style variations can be expressed with Tr i'i, tne backside of the foot is drawn. Views on Attacked-characters and Knocked-out Characters e above example illustrates psychic energy being leased by the central character. When drawing a character that has been completely blown away, consider the...

Maybe if I add ink it will look better. Maybe if I add ink it will look better. Draw because you like it. Never forget the pleasure of creating and drawing. The essence of improving your manga is to have fun doing it. The only way to improve is to use your eyes. Get to the bottom of what and why things don't look right and fix them. Get to the bottom of what and why things don't look right and fix them. It's hard to admit your own mistakes. But you won't be able to improve as an artist unless...

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